O’Boyle’s Concerto for Didgeridoo is
a joint composition with soloist William Barton. It's in
four movements each named after the traditional elements. Earth is
tense with pent-up energy. The primeval ululating growl
of the solo instrument is relieved by gleaming Hovhaness
figuration from the violins. Wind seems to speak
in mystical and fearsome numbers through the didgeridoo.
It articulates a voice from the stone and from the sand.
This time there is a slamming and hunting scherzo character
to the music. Barton also speaks through the Didgeridoo – there
are words in the sound of the instrument and this gives
a supernatural and hair-raising effect. Water is
a more contented essay with strings imparting gentle breath.
There are light-imbued contributions from harp and woodwind.
This is a necessary release after the grim intimations
of the first two movements. Even so the didgeridoo adds
its overlay of threat later in the movement. Fire,
the finale, rushes, howls and roars, in a blasting bloodlust.
Fast stabbing strings are there in ostinato and the didgeridoo
croaks a savage and sometimes jazzy exultation.

Riversypmhony is a work for massive forces: soloists, choir,
thirty-strong brass band and orchestra. It is designed
for outdoor performance - in this case along the banks
of the Brisbane River. The Symphony symbolises the rivers
of the world. It is in eight short movements across 24
minutes. The effect is lavishly romantic-heroic and broad,
moving amid styles we recognise: Walton, Vaughan Williams,
Rutter, George Lloyd, Mussorgsky, Debussy and Smetana.
The film music of John Williams, Howard Shore and John
Barry is also referenced. Jane Sheldon who made such a
hit with the Wild Swans music of Kats-Chernin here
sings the honeyed role of Child of the River. The
music has an inspired marine quality though the manner
is often related to the better known composers mentioned
above. The work ends is a heaving blaze of unashamed exultation
with great surging waves of brass and rolling choral weight.

This is music that is pleasingly wild and
candidly indebted when it comes to the style palette. It
was after all meant for major public celebration outdoors.
The Concerto is a different and more substantial matter,
speaking as if from Australia's far distant past. Pity
about the very short playing time.

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